MAM
T-Series and RED FM announce an all-star fundraiser ‘The Care Concert’
MUMBAI: Private radio networks 93.5 RED FM and music label company T-Series have brought a brand-new digital initiative ‘The Care Concert’ on 11 April 2020, 6 pm onwards. While everyone is at home during the 21-day lockdown, both the brands thought of collaborating for an initiative, which helps in raising funds to tackle the current COVID-19 pandemic through the power and sweetness of music. The concert would be streamed on YouTube and Facebook handles of both T-Series and RED FM. Viewers can log in, enjoy the performances with the line-up of 15 plus artists and contribute any amount they wish to the PM CARES Fund through a link provided for the donations.
The Care Concert comprises a stellar line-up with artists such as Yo Yo Honey Singh, Adnan Sami, Neha Kakkar, Tulsi Kumar, Armaan Malik, Amal Malik, Dhvani Bhanushali, Sachet Tandon, Parampara Thakur, Prakriti Kakkar, Palak Mucchal, Jubin Nautiyal, Aditya Narayan, Akhil Sachdeva, Sukriti Kakkar and Amber Vashishtha among others. All these artists will be coming together on digital platforms to perform from their homes, with one voice, asking viewers to donate while they perform for them. RED FM’s RJ Malishka and RJ Raunac will host the show.
Speaking about the association, T-Series chairman and managing director Bhushan Kumar said: “Amidst such unprecedented and uncertain times when the world is grappling to fight the Coronavirus pandemic, we wanted to spread some cheer and also help everyone to fight this unitedly. Moreover, we saw synergies with RED FM to entertain and engage the audience in a creative format. ‘The Care Concert’ is an initiative to unite all of us together and motivate everyone to stay at home. We hope to bring some positivity in the current scenario through music and also create an opportunity which allows us to do our bit for the society by donating to the PM CARES Fund.”
Speaking about ‘The Care Concert’, RED FM and Magic FM director and COO Nisha Narayanan said: “COVID-19, without a doubt, has been harsh on the business front with most sectors taking a hit. Yet, it is important to understand every crisis presents a ray of hope and new opportunities too. We are happy to announce ‘The Care Concert’ in association with India’s largest music record label, T-Series to bring forth some of the renowned music artists for a digital concert. People have always found strength and hope in art and music during the crisis and this is a humble effort by RED FM and T-Series to bring together everybody for a common cause.”
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
